Sweden Box Office for Mamma Mia: Here We Go Again! (2018)

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Mamma Mia: Here We Go Again!
Theatrical Performance (US$)
Sweden Box Office $14,644,147Details
Worldwide Box Office $393,439,007Details
Home Market Performance
North America DVD Sales $10,645,505 Details
North America Blu-ray Sales $10,969,877 Details
Total North America Video Sales $21,615,382
Further financial details...

  1. Summary
  2. News
  3. Box Office
  4. Worldwide
  5. Full Financials
  6. Cast & Crew
  7. Trailer

Synopsis

Ten years after Mamma Mia! you’re invited to return to the magical Greek island of Kalokairi in an all-new original musical based on the songs of ABBA.

Metrics

Movie Details

Production Budget:$75,000,000
Sweden Releases: July 20th, 2018 (Wide)
Video Release: October 23rd, 2018 by Universal Home Entertainment
MPAA Rating: PG-13 for some suggestive material
(Rating bulletin 2518 (Cert #51518), 3/14/2018)
Running Time: 114 minutes
Franchise: Mamma Mia
Keywords: Prequel, Non-Chronological, Pregnant Women, Romance, Love Triangle, Ensemble, Delayed Sequel, IMAX: DMR, Jukebox Musical
Source:Original Screenplay
Genre:Musical
Production Method:Live Action
Creative Type:Contemporary Fiction
Production/Financing Companies: Playtone, Universal Pictures, Littlestar, Legendary Pictures, Perfect World Pictures
Production Countries: Sweden, United Kingdom, United States
Languages: English

Home Market Releases for October 23rd, 2018

October 24th, 2018

Made In Abyss

It is a slow week on the home market, as Mamma Mia: Here We Go Again! is the only first run release. There are several horror films that are selling well enough to be worth talking about, but that is all. As far as the best of the best are concerned, the two I’m most interested in and I put in requests for screeners for both are BlacKkKlansman and Incredibles 2, but they are only coming out on VOD this week. I don’t like handing out Pick of the Week titles to VOD releases, so the real race is between The Americans: The Complete Final Season and Made In Abyss: Season One. Both are worth picking up, but I think there will be a full series Megaset for The Americans, so I’m giving the title to Made In Abyss. More...

International Box Office: The Meg Swims the Seven Seas

August 16th, 2018

The Meg

The Meg led the way on the international chart cracking the century mark with $101.5 million on 30,212 screens in 42 markets and a worldwide opening of $146.9 million. This is great news, and the film cost Warner Bros. $130 million to make, after tax rebates and the like, so the film needed a monster opening to break even any time soon. The film’s biggest market was China, where it earned $49.83 million on 16,307 screens. It only managed third in that market, but it was a very busy weekend with two massive local hits also debuting this weekend. The film was able to top the charts in Mexico with $6.30 million on 1,936 screens and in Russia with $5.48 million on 2,628. It wasn’t as potent in the U.K., but it still topped the chart with $4.66 million in 499 theaters. The film has yet to open in South Korea, Australia, France, and Japan, so it should stick around the top five for a bit. More...

Weekend Wrap-Up: Meg Chows Down on Moviegoers

August 14th, 2018

The Meg

The Meg was arguably the biggest box office surprise of the summer, earning more during its opening weekend than many thought it would earn in total and it doubled our prediction. It also earned more than the next three films earned combined, so it was a rather one-sided affair at the box office. Its $45.40 million debut did help the overall box office rise 5.6% from last weekend reaching $147 million. More importantly, this is 26% higher than the same weekend last year. Year-to-date, 2018 now has a 9.1% / $640 million lead over 2017 at $7.68 billion to $7.04 million. More...

International Box Office: The Rise and Fall(out) of Mission: Impossible

August 8th, 2018

Mission: Impossible—Fallout

Mission: Impossible—Fallout returned to first place on the international chart with $76 million in 56 markets for totals of $205 million internationally and $330 million worldwide. The film opened in first place in both Japan and France, earning $8 million in each market. By this time next week, the film will no longer be in last place for the franchise, but it is still too soon to tell if it will become the biggest hit out of the six films. More...

Weekend Wrap-Up: Fallout Continues its Mission

August 7th, 2018

Mission: Impossible—Fallout

Mission: Impossible—Fallout remained on top of the weekend box office chart thanks in part to a stronger than expected hold and in part to weaker than expected competition. Christopher Robin was the only new release to make any real noise opening in second place with $24.59 million, while The Spy Who Dumped Me opened with less than half of that. Overall, the box office earned $139 million, 11% lower than last weekend. More importantly, this was 14% higher than this weekend last year. 2018 extended its lead over 2017 to just under $600 million or 8.7% at $7.46 billion to $6.86 billion. More...

Weekend Predictions: Can Christopher Robin Survive the Fallout?

August 2nd, 2018

Christopher Robin

There are four films opening wide or semi-wide during the first weekend of the August. This includes the only potential $100 million hit, Christopher Robin. The Spy Who Dumped Me’s roller coaster ride on Rotten Tomatoes appears to be coming to an end at the mediocre end of things, but that’s not bad compared to the average August release. On the other hand, bad is the best way to describe The Darkest Minds, while calling Death of a Nation “bad” is a glorious understatement. While most of the new releases are not expected to make an impact at the box office, there could be a close race on top between Christopher Robin and Mission: Impossible—Fallout. This weekend last year, The Dark Tower opened in first place with just under $20 million. This year, the top two films should beat that with ease. Last year’s depth was better, but 2018 should still win in the year-over-year comparison. More...

International Box Office: Over $100 million for Mr. Billion

August 1st, 2018

Hello Mr. Billionaire

Hello Mr. Billionaire, a Chinese remake of Brewster’s Millions, opened in first place in China and the international market with $132.26 million. That’s more than 800 million in the local currency, while it took just one more day to live up to its name and reach 1 billion Yen in revenue. More...

Weekend Wrap-Up: July Ends on an Impossibly Good Weekend

July 30th, 2018

Mission: Impossible—Fallout

Mission: Impossible—Fallout was easily the biggest hit of the weekend earning more than the rest of the top five combined. Its opening weekend of $61.24 million was the best in the franchise, but it wasn’t enough to prevent the overall box office from dropping 9.3% from last weekend earning $156 million. This is 8.0% higher than the same weekend last year, which is the more important result. 2018 is now ahead of 2017 by a margin of 8.5% or $570 million at $7.23 billion to $6.66 billion. More...

Weekend Estimates: Impossible Tops Chart with Franchise Best $61.5 million Debut

July 29th, 2018

Mission: Impossible—Fallout

Mission: Impossible—Fallout dominated the weekend box office chart with $61.5 million over the weekend. This is the best opening in the franchise, unless you take inflation into account. Assuming the film can have the same legs as Rogue Nation, it will be able to top $200 million domestically. The film’s reviews and its A from CinemaScore, and the nearly total lack of quality competition in August, make that seem likely; however, I think we should wait a week before predicting a final box office tally. Internationally, the film made $92 million in 36 markets, which is close to 20% higher than Rogue Nation’s debuts in those markets, which should be enough to keep Paramount happy. Although given the studio’s struggles in the past few years, if the film was just marginally profitable, it would have been reason for Paramount to celebrate. More...

Friday Estimates: Fallout on top Friday with Franchise Record

July 28th, 2018

Mission: Impossible—Fallout

Mission: Impossible—Fallout earned $23.0 million on Friday, putting it on pace for an opening weekend of $58 million, according to Paramount. This is the fastest start in the franchise; although given the age of the franchise and the ticket price inflation, that’s much less impressive. The film’s reviews are among the best we’ve seen from a wide release this year, while it earned an A from CinemaScore, so its legs should be long. That said, this is weaker than we predicted. I really thought the reviews would translate into more ticket sales. More...

Weekend Predictions: Can Teen Titans do the Impossible?

July 26th, 2018

Mamma Mia: Here We Go Again!

The last weekend of the month has two wide releases, both of which are earning stellar reviews. Mission: Impossible—Fallout is the sixth film in the franchise. It wasn’t that long ago where a sixth installment in a franchise would be impressive. Teen Titans Go! To the Movie is the first big screen appearance for most of these characters. There should also be three, maybe four other films with $10 million or more during the weekend. 2018 won’t need that depth to win in the year-over-year comparison, as this weekend last year was pretty weak, so the month should end on a winning note. More...

Theater Averages: Eighth Grade Repeats a Grade

July 25th, 2018

Eighth Grade

Eighth Grade remained on top of the theater average chart with an average of $24,975 in 33 theaters over the weekend. McQueen and Blindspotting were right behind with averages of $24,718 and $24,024 in 4 and 14 theaters respectively. The re-release of Wanda opened with $10,679 in one theater. The two wide releases of the week were next with The Equalizer 2 and Mamma Mia: Here We Go Again! in a virtual tie at $10,629 and $10,537 respectively. More...

International Box Office: Skyscraper Rises from the Ashes

July 24th, 2018

Skyscraper

Skyscraper roared to first place on the international chart, thanks mostly to its debut in China. Overall, it earned $77.8 million in 68 markets for totals of $135.7 million internationally and $182.8 million worldwide. It opened in first place in China with $48.11 million over the weekend for a total opening of $48.51 million. The second biggest new market was Colombia, where it earned $1.38 million on 195 screens. Its best holdover was in Mexico where it was down 50% to $1.68 million on 815 screens for a two-week total of $7.46 million. More...

Weekend Wrap-Up: Equalizer 2 Also has no Equal

July 23rd, 2018

The Equalizer 2

The Equalizer 2 was the surprise winner at the weekend box office chart with $36.01 million over the weekend, which put it just ahead of the $34.95 million earned by Mamma Mia: Here We Go Again! The overall box office topped expectations with $171 million, up 2.7% from last week. This is 5.1% lower than the same weekend last year, but this is better than expected. Also, 2018 is still ahead of 2017 by a sizable margin of $560 million / 8.8% at $6.98 billion to $6.42 billion. Again, if 2018 just maintains the raw dollar margin for the rest of the year, it will be a reason to celebrate. More...

Weekend Estimates: Equalizer more than Equals Mamma Mia

July 22nd, 2018

The Equalizer 2

In a shocking turn of events, The Equalizer 2 overtook Mamma Mia: Here We Go Again! over the weekend with $35.83 million. This is better than predicted and is better than the original managed. Its reviews are not great, but it earned an A from CinemaScore and it is aimed at a more mature target audience, so it should have better than average legs. We will have a better picture this time next week. Internationally, the film managed $3.3 million on 704 screens in 11 markets, including $2.2 million in Australia. The film first didn’t do great internationally, so while this is a 30% improvement, it is still nothing special. More...

Friday Estimates: Mamma Mia is Here to Stay

July 21st, 2018

Mamma Mia: Here We Go Again!

Mamma Mia: Here We Go Again! had a stellar opening earning $14.28 million on Friday, which is enough to put it on pace for nearly $40 million opening. That’s on the very high end of expectations and more than enough to be considered a hit. With strong reviews and an A minus from CinemaScore, the film should have good legs. It won’t have as good legs as the original did, but $100 million is an easy goal after this opening. More...

Thursday Night Previews: Equalizer nearly Equals Mamma Mia

July 20th, 2018

The Equalizer 2

Mamma Mia: Here We Go Again! pulled in $3.4 million during its previews on Thursday, which is a figure that is nearly impossible to judge. There simply are not enough live-action musicals released to compare to. The vast majority if those that do come out come out at Christmas time, so it is a poor comparison. Rock of Ages is the closest both in terms of style (Both films are Jukebox Musicals.) and release dates, but that film came out before midnight shows became standard. I’ve seen some compare it to Pitch Perfect 2, but that was a sequel and that messes with the comparisons. That said, $3.4 million is still a good amount. The reviews suggest good legs and a $35 million opening is likely, which is a little better than predicted, by a little bit. More...

Weekend Predictions: Will Mamma Mia have an Encore on Top?

July 19th, 2018

Mamma Mia: Here We Go Again!

At the beginning of the month, I didn’t have relatively high hopes for this weekend; I thought it could put up a fight in the year-over-year comparison, but would ultimately lose. That has changed and not for the better. Mamma Mia: Here We Go Again! is still widely expected to earn first place over the weekend, but it might not do well enough to finish with $100 million domestically. The Equalizer 2 won’t match its predecessor, not with the amount of action films struggling in theaters. Finally, Unfriended: Dark Web is opening in barely more than 1,500 theaters and it is going nowhere. Hotel Transylvania 3: Summer Vacation should have a good hold, but I’m not sure about any of the rest. This weekend last year, Dunkirk opened with just over $50 million and five other films earned $10 million or more over the weekend. There’s no way 2018 will match that. I don’t even think it will be close. More...

2018 Preview: July

July 1st, 2018

Ant-Man and the Wasp

June was amazing, with two absolute monster hits and a solid $100 million hit. By the end of the month, 2018’s lead over 2017 will be well over $500 million, or close to 10%. Even if 2018 only managed to maintain this lead in terms of raw numbers for the rest of the year, it will be a massive jump at the box office. As for July, there are a couple of potential monster hits, Ant-Man and the Wasp and Mission: Impossible—Fallout, plus four potential $100 million hits. Last July, there was only one monster hit, Spider-Man: Homecoming, and three $100 million hits. I don’t think 2018 will match 2017 at the top, but 2018 appears to have more depth and that should put it a little ahead over the full month. More...

Mamma Mia: Here We Go Again Trailer

December 21st, 2017

Musical starring Amanda Seyfried, Meryl Streep, Lily James, Christine Baranski, Jessica Keenan Wynn, Julie Walters, Alexa Davies, Pierce Brosnan, Jeremy Irvine, Colin Firth, Hugh Skinner, and Stellan Skarsgård opens July 20, 2018 ... Full Movie Details. More...

Because some of our sources provide box office data in their local currency, while we use USD in the graph above and table below, exchange rate fluctuations can have effect on the data causing stronger increases or even decreases of the cumulative box office.

Weekend Box Office Performance

DateRankGross% ChangeScreensPer ScreenTotal GrossWeek
2018/07/20 - $2,808,619   213 $13,186   $3,498,552 1
2018/07/27 - $1,112,643 -60% 166 $6,703   $5,888,793 2
2018/08/03 - $668,000 -40% 131 $5,099   $7,161,000 3
2018/08/10 - $761,521 +14% 137 $5,559   $9,233,402 4
2018/08/17 - $584,241 -23% 130 $4,494   $10,403,288 5
2018/08/24 - $530,234 -9% 147 $3,607   $11,368,027 6
2018/08/31 - $405,865 -23% 135 $3,006   $12,102,830 7
2018/09/07 - $291,481 -28% 111 $2,626   $12,643,854 8
2018/09/14 - $252,877 -13% 93 $2,719   $13,093,100 9
2018/09/21 - $221,976 -12% 80 $2,775   $13,471,114 10
2018/09/28 - $164,151 -26% 78 $2,105   $13,752,136 11
2018/10/05 - $129,541 -21% 60 $2,159   $13,981,637 12
2018/10/12 - $84,918 -34% 58 $1,464   $14,145,488 13
2018/10/19 - $68,665 -19% 44 $1,561   $14,260,517 14
2018/10/26 - $56,242 -18% 35 $1,607   $14,383,878 15
2018/11/02 - $51,198 -9% 39 $1,313   $14,481,279 16
2018/11/09 - $31,534 -38% 29 $1,087   $14,548,443 17
2018/11/16 - $10,228 -68% 16 $639   $14,581,036 18
2018/11/23 - $5,726 -44% 12 $477   $14,601,734 19
2018/11/30 - $4,477 -22% 8 $560   $14,612,165 20
2018/12/07 - $5,688 +27% 24 $237   $14,626,861 21
2018/12/14 - $1,718 -70% 3 $573   $14,631,711 22
2018/12/28 - $7,027   4 $1,757   $14,644,147 24

Box Office Summary Per Territory

Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Albania 7/19/2018 $3,992 3 3 8 $17,346 1/1/2019
Argentina 7/19/2018 $271,663 110 110 225 $869,460 1/1/2019
Australia 7/20/2018 $4,381,025 587 587 3177 $17,142,821 5/15/2023
Austria 7/20/2018 $1,275,777 94 96 799 $5,292,155 10/19/2022
Belgium 7/18/2018 $481,987 78 78 636 $2,521,055 10/18/2018
Bolivia 8/2/2018 $21,000 18 18 37 $59,196 1/1/2019
Brazil 8/3/2018 $1,239,000 448 458 1657 $3,648,967 9/2/2020
Bulgaria 7/20/2018 $58,245 0 0 0 $382,815 2/26/2019
Central America 8/16/2018 $369,983 177 177 363 $726,550 9/26/2018
Chile 8/30/2018 $132,045 66 66 173 $400,217 1/1/2019
China 8/3/2018 $324,755 700 700 857 $600,895 9/6/2018
Colombia 8/16/2018 $115,252 100 100 171 $323,471 1/1/2019
Croatia 7/26/2018 $160,037 44 44 156 $532,978 8/23/2023
Cyprus 7/19/2018 $62,172 6 6 42 $263,729 9/12/2018
Czech Republic 7/19/2018 $435,434 147 147 709 $1,673,230 10/19/2022
Denmark 7/19/2018 $990,232 110 111 668 $4,747,695 11/8/2018
Ecuador 7/20/2018 $80,065 36 36 101 $281,004 1/1/2019
Egypt 7/18/2018 $35,695 14 14 30 $104,623 1/1/2019
Estonia 7/20/2018 $118,037 23 23 115 $530,105 9/26/2018
Finland 7/20/2018 $767,944 119 119 1027 $5,123,432 7/22/2020
France 7/27/2018 $1,767,983 606 606 2862 $5,896,444 9/26/2018
Germany 7/20/2018 $4,496,869 793 802 7120 $21,155,586 12/23/2018
Greece 7/19/2018 $527,017 169 169 368 $1,352,297 9/6/2018
Hong Kong 8/16/2018 $370,621 38 38 117 $832,769 10/11/2018
Hungary 7/19/2018 $673,538 74 81 476 $2,756,349 1/1/2019
Iceland 7/20/2018 $211,650 11 11 61 $900,134 1/1/2019
India 8/3/2018 $144,000 170 170 261 $373,822 9/26/2018
Indonesia 7/20/2018 $239,831 180 180 237 $558,899 1/1/2019
Israel 7/19/2018 $203,095 41 41 193 $1,109,705 1/1/2019
Italy 8/10/2018 $253,023 0 0 0 $3,940,160 10/18/2018
Japan 8/24/2018 $1,871,630 0 337 1140 $8,461,178 12/28/2018
Latvia 7/20/2018 $34,924 10 10 72 $193,964 1/1/2019
Lebanon 7/19/2018 $115,047 17 17 58 $456,647 1/1/2019
Lithuania 7/20/2018 $28,683 173 173 609 $210,500 9/25/2018
Macedonia 7/19/2018 $4,841 3 3 9 $18,186 1/1/2019
Malaysia 7/19/2018 $202,286 107 107 268 $547,809 10/4/2018
Mexico 8/17/2018 $977,414 0 499 678 $3,031,261 12/5/2018
Middle East Region 7/19/2018 $236,710 58 58 98 $552,276 8/23/2018
Netherlands 7/20/2018 $1,072,865 134 141 1692 $9,636,287 5/15/2024
New Zealand 7/20/2018 $1,073,544 109 113 991 $4,176,783 7/8/2020
North America 7/20/2018 $34,952,180 3,317 3,514 19,513 $120,634,935
Norway 7/20/2018 $2,272,137 144 144 882 $10,628,125 12/5/2018
Pakistan 8/10/2018 $9,205 17 17 34 $17,743 1/1/2019
Paraguay 7/19/2018 $22,639 16 16 24 $61,890 1/1/2019
Peru 8/9/2018 $228,196 96 96 166 $614,590 1/1/2019
Philippines 7/18/2018 $602,580 186 186 328 $1,228,969 1/1/2019
Poland 7/27/2018 $251,578 0 222 1175 $5,584,093 11/14/2018
Portugal 7/19/2018 $459,457 88 101 560 $2,275,094 10/23/2018
Romania 7/20/2018 $93,718 78 78 294 $411,616 1/1/2019
Russia (CIS) 8/16/2018 $892,144 1133 1133 3342 $1,969,750 1/1/2019
Serbia and Montenegro 7/19/2018 $57,855 44 44 170 $219,898 1/30/2019
Singapore 8/9/2018 $301,928 31 31 102 $649,704 8/12/2020
Slovakia 7/19/2018 $190,957 80 80 280 $629,892 9/26/2018
Slovenia 8/2/2018 $153,000 22 23 155 $687,934 8/26/2020
South Africa 7/20/2018 $488,101 123 123 687 $2,340,891 10/26/2018
South Korea 8/8/2018 $38,664 0 724 3094 $16,311,405 7/15/2020
Spain 7/20/2018 $2,132,253 383 408 2566 $10,871,973 8/26/2020
Sweden 7/20/2018 $2,808,619 213 213 1753 $14,644,147 1/2/2019
Switzerland 7/19/2018 $706,562 93 120 830 $4,172,952 12/13/2018
Taiwan 8/3/2018 $374,000 91 91 228 $812,580 9/20/2018
Thailand 8/9/2018 $62,315 40 40 87 $153,919 9/20/2018
Trinidad 8/1/2018 $52,000 14 14 39 $115,798 1/1/2019
Turkey 7/20/2018 $44,388 127 127 267 $132,168 2/26/2019
Ukraine 8/9/2018 $76,447 143 152 402 $184,607 1/1/2019
United Arab Emirates 7/19/2018 $330,769 48 48 97 $827,063 1/1/2019
United Kingdom 7/20/2018 $12,768,434 702 718 6659 $85,197,841 7/17/2024
Uruguay 7/19/2018 $55,562 23 23 87 $181,566 1/1/2019
Venezuela 8/24/2018 $0 0 0 0 $272,083 10/26/2018
Vietnam 7/20/2018 $82,833 118 118 225 $202,981 1/1/2019
 
Worldwide Total$393,439,007 7/17/2024

Full financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue are available through our research services. For more information, please contact us at research@the-numbers.com.

Lead Ensemble Members

Amanda Seyfried    Sophie Sheridan
Meryl Streep    Donna Sheridan
Lily James    Young Donna
Christine Baranski    Tanya Chesham-Leigh
Jessica Keenan Wynn    Young Tanya
Julie Walters    Rosie Mulligan
Alexa Davies    Young Rosie
Pierce Brosnan    Sam Carmichael
Jeremy Irvine    Young Sam
Colin Firth    Harry Bright
Hugh Skinner    Young Harry
Stellan Skarsgård    Bill Anderson
Josh Dylan    Young Bill
Andy Garcia    Fernando
Cher    Ruby Sheridan
Dominic Cooper    Sky

Supporting Cast

Celia Imrie    Vice Chancellor
Omid Djalili    Rav
Gerard Monaco    Alexio
Anna Antoniades    Apollonia
Panos Mouzourakis    Lazaros
Maria Vacratsis    Sofia
Naoko Mori    Yumiko
Togo Igawa    Mr. Tatyama
Anastasia Hille    Dr. Inge Horvath
Susanne Barklund    Alma
Jonathan Goldsmith    Brother Cienfuegos

For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.

Production and Technical Credits

Ol Parker    Director
Ol Parker    Screenplay by
Catherine Johnson    Based on ‘Mamma Mia!’ by
Richard Curtis    Story by
Ol Parker    Story by
Judy Craymer    Producer
Gary Goetzman    Producer
Benny Andersson    Executive Producer
Bjorn Ulvaeus    Executive Producer
Tom Hanks    Executive Producer
Rita Wilson    Executive Producer
Phyllida Lloyd    Executive Producer
Richard Curtis    Executive Producer
Nicky Kentish-Barnes    Executive Producer
Alan MacDonald    Production Designer
John Frankish    Production Designer
Peter Lambert    Editor
Anne Dudley    Composer
Robert Yeoman    Director of Photography
Steve Dent    Stunt Coordinator
Greg Powell    Stunt Coordinator
Matthew Sampson    Stunt Department Coordinator
Benny Andersson    Music and Lyrics by
Stig Anderson    Music and Lyrics by
Bjorn Ulvaeus    Music and Lyrics by
Catherine Johnson    Some songs with Based on the Original Musical “Mamma Mia!” Written by
Judy Craymer    Some songs with Based on the Original Musical “Mamma Mia!” Written by
Michele Clapton    Costume Designer
Martin Koch    Music Director
Becky Bentham    Music Supervisor
Nina Gold    Casting Director
Nick Fulton    Unit Production Manager
Richard Whelan    First Assistant Director
Terence Madden    Key Second Assistant Director
Steven Shareshian    Co-Executive Producer
Richard Whelan    Co-Producer
Ludvig Andersson    Associate Producer
Adrian Bell    Sound Mixer
Dominic Capon    Set Decorator
Lisa Vick    Script Supervisor
Luke Murphy    Special Effects Supervisor
Michael Minkler    Re-recording Mixer
Warren Shaw    Re-recording Mixer
Kate O’ Farrell    Costume Supervisor
Polly Earnshaw    Make up
Alexis Continente    Hairstylist
Deborah Saban    First Assistant Director
Tom Crooke    Location Manager
Tom Asquith    Location Manager
Rob Campbell-Bell    Location Manager
Bill Darby    Supervising Location Manager
Matt Clarke    Production Supervisor
Rebecca Adams    Post-Production Supervisor
Andrew Jadavji*    First Assistant Editor
Kindra Marra    First Assistant Editor
Warren Shaw    Supervising Sound Editor
Dan Kenyon    Sound Effects Editor
Lauren Hadaway    Dialogue Editor
Michael Hertlein    Dialogue Editor
Richard Duarte    Foley Mixer
Jack Cucci    Foley Mixer
Benny Andersson    Music Producer
Nick Gilpin    Supervising Music Editor
Allan Jenkins    Music Editor
Tom Jenkins    Music Editor
Angie Rubin    Music Editor
Steve Carter    Art Director
Simon Hughes    Visual Effects Supervisor
Tim Caplan    Visual Effects Executive Producer
Noga Alon Stein    Visual Effects Producer

The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.